Session ace Brent Mason's famous '67 Telecaster has three humbucker pickups and three controls. Fender just released a Brent Mason signature Telecaster, which is a replica of this guitar.
Welcome back to Mod Garage. Let's take a closer look at what's usually referred to as the Brent Mason Telecaster wiring. It's also been called "Telecaster blend wiring" or "Nashville Telecaster wiring," and I think it's time to cover this one in detail for several reasons. First and foremost, I've received numerous requests from you, dear readers, to do this. Fender recently released a faithful replica of Brent Mason's Telecaster, and also, my PG colleague John Bohlinger did a great Rig Rundown video with Mason just weeks ago. Mason is an outstanding player and absolutely nice guy so it's only logical to cover the wiring of his famous '67 Telecaster. Unless you're living in a cave, you've heard about Mason and his playing, which he's laid down on more Nashville studio records than one can count.
Mason's famous "automobile primer gray" 1967 Telecaster has three humbucker pickups and three controls. It's basically a standard 3-way Tele pickup-switching circuit plus an additional volume control to blend in the middle pickup. These are the pickups Mason uses in his Telecaster, all from the Seymour Duncan company:
Rig Rundown: Brent Mason [2021]
- Neck position: Vintage Mini Humbucker (Mason tenderly calls it a "Baby Humbucker"), built-in 180 degrees flipped, so the open pole pieces are facing the bridge rather than the neck for some more high-end and clarity in the tone. The pickup is wired with both coils in series for full humbucking functionality and no control to split it.
- Middle position: Mason is using an older version of the Hot Stack Strat STK-S2 with the red pickup cover and engraved Seymour Duncan logo on top. The current model has a white cover that's partly open on top. Hopefully, the iconic early red pickup cover will be available again for that special look. The pickup is wired with both coils in series for full humbucking functionality and no control to split it.
- Bridge position: Vintage Stack Tele STK-T3b, which is wired with both coils in series for full humbucking functionality and no control to split it.
These are the pickups installed in Brent's original Tele and also the pickups Fender is using for the signature model. This is an HHH pickup combination, by all means. Why Fender labelled it an SSH combination on the webpage ... well, we don't know.
In general, you can use any given pickup combination for this wiring. If you want to be as close as possible, this is your shopping list. If you only want to get in the same ballpark, you should use a vintage-flavored Tele bridge pickup, a hotter (overwound) Stratocaster middle pickup, and a PAF-style humbucker or hot P-90 for the neck position. No matter if they're single-coils or humbuckers, it will work.
"This wiring worked well for Mason right from the start: A hum-free operation is absolutely essential for work in a studio."
Why did Mason choose such an unusual pickup combination, you might ask? According to Mason himself, he didn't have much money in his early career and could only afford one guitar. This had to cover everything he needed in the studio. Brent wanted a Telecaster bridge pickup to cover all the country playing that was popular in the early '90s. For this, he also installed a B-Bender (Joe Glaser system, Mk1 version). He also wanted a Stratocaster tone, especially the in-between tone from bridge and middle together in parallel, and a Les Paul-ish tone from the neck position. So, the pickup combination he chose made sense, and Nashville's Joe Glaser did the wiring for him, which is the reason why Mason named this wiring "Glaser wiring."
This worked well for Mason right from the start: A hum-free operation is absolutely essential for work in a studio. But the wiring underwent some evolution during the years regarding the push-pull pot, which is the master tone control. This was initially wired to split the Hot Stack middle pickup into a single-coil, and all the diagrams of this wiring that are online right now still display this version. Today, the push-pull pot is wired to switch the middle pickup on and off. This is also the way Fender's Mason signature Tele is wired and what I'll be showing you. If you want the older wiring, you can find several examples online. They are also correct, but simply not up to date with Mason's current wiring.
I asked Mason directly about this, and I'm more than happy to share his reply:
"Basically, it's a standard 3-way switch with an extra volume knob that controls the middle pickup. Three knobs, left to right: volume (for neck and bridge), volume (middle), tone (for all 3) with an extra feature to pull on the tone knob to cut the middle pickup off or on. The middle pickup with the volume knob enables you to roll in the desired amount to blend with either neck or bridge. The pull knob on my original '67 Tele cuts the Seymour Duncan Vintage Stack split coil in half to single-coil. Later on, over the years I found that feature useless. We decided to make that tone control knob cut the middle pickup off and on. Upward position is off. The pickups are all Seymour Duncan; Mini Humbucker in front, Hot Stack in middle, and Vintage Stack in bridge." —Brent Mason
Building The Limited-Edition Brent Mason Telecaster | Dream Factory | Fender
For more on the guitar and its story, I recommend watching the video about it.
So, what do we need for this wiring? We know the pickups, but we don't know exactly what's used for the electronics and how it's wired. Fender didn't release a wiring diagram for the signature model yet and Joe Glaser didn't publish anything about it. My diagram (Fig. 1 - scroll below) will work exactly as it should, but maybe the original guitar is wired slightly different. As you know, many roads lead to Rome.
I was able to find a photo of the wiring Fender did (Photo 1) and extracted a still shot of Brent's original guitar from the Fender video mentioned above (Photo 2).
Photo 1
Photo courtesy of FMIC
Photo 2
Photo courtesy of FMIC
On these two photos, we can clearly see:
- The push-pull pot is wired to switch the middle pickup on and off.
- All three pickups are wired for full humbucking functionality with both coils in series.
- No treble-bleed networks are used on the two volume pots.
- Mason still has the '67 original Sprague "Circle D" 0.05 uF high-voltage ceramic tone cap in his guitar.
This only leaves us with two unknown parameters: resistance of the three pots, and on/off wiring of the middle pickup. I think it's three 250k audio pots, but if you want a tad more high-end, using a 500k audio push-pull master tone pot is worth a try. I would use two 250k audio volume pots to benefit from the much better taper range compared to a 500k pot—the nature of the (passive) beast.
To activate or cut off the middle pickup there are two different ways: connecting the pickup to the switch or using a push/pull volume pot for the middle pickup. I decided to use the second version because when connecting the pickup directly to the switch, the volume pot stays connected to the circuit, adding some load to it, resulting in less high-end. Please note that the master tone pot will not work on the middle pickup when the master volume is not set to "10" (aka fully opened). When you start to roll down the volume, the middle pickup gets disconnected from the master tone, no matter if you switch the pickup itself or the volume pot—that's part of the game.
Fig. 1
To keep the wiring diagram (Fig. 1) as clean as possible, I showed all ground connections only with the international symbol for it rather than drawing several black wires through the diagram. I also only show two pickup wires (hot and ground) but keep in mind that these are humbuckers with a four-conductor wiring plus separate ground wire, so you'll have to solder some wires together to end up with only two pickup wires. The separate ground wire always goes directly to ground (casing of a pot, etc.) and assuming you're using Seymour Duncan pickups, you'll have to follow this color code:
- Black wire = hot output
- White and red wire are twisted together, soldered, and isolated
- Green wire = ground
For other pickups, you'll have to use the corresponding color code from the manufacturer. For single-coil pickups, you don't need to do all this.
Is this wiring perfect or are there any mods that can be done? At least it's perfect for Mason and his playing. If it's good enough for him, it should be good enough for all of us. But this is only half the truth.
If you have Brent's playing chops, you don't depend much on any equipment. Even with the cheapest, meanest, off-tuned junk guitar, Mason will sound much better than most of us. The better you play, the less you depend on equipment. It's absolutely okay and no sacrilege to mod this circuit to your personal needs. If you want to use the push-pull pot for splitting one of the pickups rather than switching the middle pickup on and off ... go for it! If you want to use treble-bleed networks for the volume pots or want to implement splitting for all three pickups, there's no law against doing so.
That's it for now. Next month we'll continue with our DIY relic'ing project.
Until then ... keep on modding!- Rig Rundown: Brent Mason [2021] - Premier Guitar ›
- First Look: Fender Brent Mason Telecaster - Premier Guitar ›
- The Telecaster Mod Guide - Premier Guitar ›
- Fender Esquire Basics - Premier Guitar ›
- Ultimate Broadway Nashville T-Style Guitar Build & Test - Premier Guitar ›
Gibson originally launched the EB-6 model with the intention of serving consumers looking for a “tic-tac” bass sound.
The Gibson EB-6 was announced in 1959 and came into the world in 1960, not with a dual-horn body but with that of an elegant ES-335. They looked stately, with a thin, semi-hollow body, f-holes, and a sunburst finish. Our pick for this Vintage Vault column is one such first-year model, in about as original condition as you’re able to find today. “Why?” you may be asking. Well, read on....
When the EB-6 was introduced, the Bass VI was still a glimmer in Leo Fender’s eye. The real competition were the Danelectro 6-string basses that seemed to have popped up out of nowhere and were suddenly being used on lots of hit records by the likes of Elvis, Patsy Cline, and other household names. Danos like the UB-2 (introduced in ’56), the Longhorn 4623 (’58), and the Shorthorn 3612 (’58) were the earliest attempts any company made at a 6-string bass in this style: not quite a standard electric bass, not quite a guitar, nor, for that matter, quite like a baritone guitar.
The only change this vintage EB-6 features is a replacement set of Kluson tuners.
Photo by Ken Lapworth
Gibson, Fender, and others during this era would in fact call these basses “baritone guitars,” to add to our confusion today. But these vintage “baritones” were all tuned one octave below a standard guitar, with scale lengths around 30", while most modern baritones are tuned B-to-B or A-to-A and have scale lengths between 26" and 30".)
At the time, those Danelectros were instrumental to what was called the “tic-tac” bass sound of Nashville records produced by Chet Atkins, or the “click-bass” tones made out west by producer Lee Hazlewood. Gibson wanted something for this market, and the EB-6 was born.
“When the EB-6 was introduced, the Bass VI was still a glimmer in Leo Fender’s eye.”
The 30.5" scale 1960 EB-6 has a single humbucking pickup, a volume knob, a tone knob, and a small, push-button “Tone Selector Switch” that engages a treble circuit for an instant tic-tac sound. (Without engaging that switch, you get a bass-heavy tone so deep that cowboy chords will sound like a muddy mess.)
The EB-6, for better or for worse, did not unseat the Danelectros, and a November 1959 price list from Gibson hints at why: The EB-6 retailed for $340, compared to Dano price tags that ranged from $85 to $150. Only a few dozen EB-6 basses were shipped in 1960, and only 67 total are known to have been built before Gibson changed the shape to the SG style in 1962.
Most players who come across an EB-6 today think it was a response to the Fender Bass VI, but the former actually beat the latter to the market by a full year.
Photo by Ken Lapworth
It’s sad that so few were built. Sure, it was a high-end model made to achieve the novelty tic-tac sound of cheaper instruments, but in its full-voiced glory, the EB-6 has a huge potential of tones. It would sound great in our contemporary guitar era where more players are exploring baritone ranges, and where so many people got back into the Bass VI after seeing the Beatles play one in the 2021 documentary, Get Back.
It’s sadder, still, how many original-era EB-6s have been parted out in the decades since. Remember earlier when I wrote that our Vintage Vaultpick was about as original as you could find? That’s because the model’s single humbucker is a PAF, its Kluson tuners are double-line, and its knobs are identical to those on Les Paul ’Bursts. So as people repaired broken ’Bursts, converted other LPs to ’Bursts, or otherwise sought to give other Gibsons a “Golden Era” sound and look ... they often stripped these forgotten EB-6 basses for parts.
This original EB-6 is up for sale now from Reverb seller Emerald City Guitars for a $16,950 asking price at the time of writing. The only thing that isn’t original about it is a replacement set of Kluson tuners, not because its originals were stolen but just to help preserve them. (They will be included in the case.)
With so few surviving 335-style EB-6 basses, Reverb doesn’t have a ton of sales data to compare prices to. Ten years ago, a lucky buyer found a nearly original 1960 EB-6 for about $7,000. But Emerald City’s $16,950 asking price is closer to more recent examples and asking prices.
Sources: Prices on Gibson Instruments, November 1, 1959, Tony Bacon’s “Danelectro’s UB-2 and the Early Days of 6-String Basses” Reverb News article, Gruhn’s Guide to Vintage Guitars, Tom Wheeler’s American Guitars: An Illustrated History, Reverb listings and Price Guide sales data.
Originally released in the 1980s, the Victory has long been a cult favorite among guitarists for its distinctive double cutaway design and excellent upper-fret access. These new models feature flexible electronics, enhanced body contours, improved weight and balance, and an Explorer headstock shape.
A Cult Classic Made Modern
The new Victory features refined body contours, improved weight and balance, and an updated headstock shape based on the popular Gibson Explorer.
Effortless Playing
With a fast-playing SlimTaper neck profile and ebony fretboard with a compound radius, the Victory delivers low action without fret buzz everywhere on the fretboard.
Flexible Electronics
The two 80s Tribute humbucker pickups are wired to push/pull master volume and tone controls for coil splitting and inner/outer coil selection when the coils are split.
For more information, please visit gibson.com.
Gibson Victory Figured Top Electric Guitar - Iguana Burst
Released in 1983, the Roland SDE-3000 rackmount delay was a staple for pro players of the era and remains revered for its rich analog/digital hybrid sound and distinctive modulation. BOSS reimagined this retro classic in 2023 with the acclaimed SDE-3000D and SDE-3000EVH, two wide-format pedals with stereo sound, advanced features, and expanded connectivity. The SDE-3 brings the authentic SDE-3000 vibe to a streamlined BOSS compact, enhanced with innovative creative tools for every musical style. The SDE-3 delivers evocative delay sounds that drip with warmth and musicality. The efficient panel provides the primary controls of its vintage benchmark—including delay time, feedback, and independent rate and depth knobs for the modulation—plus additional knobs for expanded sonic potential.
A wide range of tones are available, from basic mono delays and ’80s-style mod/delay combos to moody textures for ambient, chill, and lo-fi music. Along with reproducing the SDE-3000's original mono sound, the SDE-3 includes a powerful Offset knob to create interesting tones with two simultaneous delays. With one simple control, the user can instantly add a second delay to the primary delay. This provides a wealth of mono and stereo colors not available with other delay pedals, including unique doubled sounds and timed dual delays with tap tempo control. The versatile SDE-3 provides output configurations to suit any stage or studio scenario.
Two stereo modes include discrete left/right delays and a panning option for ultra-wide sounds that move across the stereo field. Dry and effect-only signals can be sent to two amps for wet/dry setups, and the direct sound can be muted for studio mixing and parallel effect rigs. The SDE-3 offers numerous control options to enhance live and studio performances. Tap tempo mode is available with a press and hold of the pedal switch, while the TRS MIDI input can be used to sync the delay time with clock signals from DAWs, pedals, and drum machines. Optional external footswitches provide on-demand access to tap tempo and a hold function for on-the-fly looping. Alternately, an expression pedal can be used to control the Level, Feedback, and Time knobs for delay mix adjustment, wild pitch effects, and dramatic self-oscillation.
The new BOSS SDE-3 Dual Delay Pedal will be available for purchase at authorized U.S. BOSS retailers in October for $219.99. To learn more, visit www.boss.info.